The swagger and waggle of the itik (ducks) are used by Zulkifli Yusoff to comment on the lenggang-lenggok (seductive sway) of the gait of nubile Malay woman. During the Melayu Pop era of the 1960s, Malay woman wore tight figure-hugging kebayas. For all the irony, a feeling of nostalgia comes through strongly. Imprints of duck motifs in different pastel hues are plentiful and the one on the top right leaves its footprints all over. Psychedelic array of love symbols are featured, some of which have morphed into diamonds. Images vie with text excerpted from the song and arranged randomly, while the head of a typical Malay female entertainer is replicated and hidden, either in parts or behind a curtain of crossed lines. Zulkifli won the Major Award in the Young Contemporary Artists (BMS) competition in 1988 and 1989. In 1992, he landed Malaysia's biggest art award when won the Grand Minister's Prize in Salon Malaysia in 1992, apart from the 1st and 3rd Prizes in Sculpture. There was a time when he concentrated on his educator's role at the Universiti Pendidikan Sultan Idris in Tanjung Malim, and his educational credentials and his artist's accomplishments won him the National Academy Award (Visual Art) in 2007. He did his Diploma in Art and Design (Fine Art) at the Mara Institute of Technology, Shah Alam (1989), and then studied at the Manchester Polytechnic in England for his Masters (1991).